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[[Brandon]] has so far written three articles pertaining to the usage of magic in writing.
== [[bws: sandersons-first-law|Sanderson's First Law]] ==
If characters (especially viewpoint characters) solve a problem by use of magic, the reader should be made to understand how that magic works. Otherwise, the magic can constitute a ''deus ex machina''.
Ideally, the magic is explained to the reader before it is used to resolve a conflict. Much like a sword or a large sum of money, magic is a useful tool. Understanding the tools available to a character helps the reader understand the character's actions. It avoids questions like, "Where did he get that?" or "How did he do that?"
"Mysterious magic" (or "soft magic"), which has no clearly defined rules, should, in genre fantasy, not solve problems, although it may ''create'' them. Soft magic in genre fantasy is usually used to create a sense of awe and wonder, and the workings of it
The middle ground is a situation where the reader knows some of the limits and possibilities of the magic but
== [[bws: sandersons-second-law|Sanderson's Second Law]] ==
The limitations of a magic system are more interesting than its capabilities. What the magic ''can't'' do is more interesting than what it ''can''.
=== Limitations ===
Great limitations on magic systems will do many things, they will for example create struggle.
An excellent magic system will also create tension, as the outcome is not obvious and makes the whole scene appear more dramatic. For example: Superman fighting an enemy is not very tense. But Superman fighting an enemy with Kryptonite is a lot more tense.
It can also create depth in the characters and the system alike. For example: A character whose power is flight. But impose a limitation where she can only fly when she is happy. Her mood and ability to fly are both now directly tied into the plot.
Limitations on what the magic can do can be simple -
=== Weaknesses and costs ===
Weaknesses and costs alike make a magic system more interesting. Weaknesses are generally harder to keep sensible and the kryptonite example has become a staple of easy storytelling. Brandon encourages writers to make up more interesting weaknesses than
== [[bws: sandersons-third-law-of-magic|Sanderson's Third Law]] ==
"A brilliant magic system for a book is less often one with a thousand different powers and abilities -- and is more often a magic system with relatively few powers that the author has considered in depth."
=== Extrapolation ===
It is important to consider the effects that a magic will have on a world. If for example your magic can create food out of thin air, what will that cause, what will happen? How will it affect trade, politics, warfare, education and social norms? Asking these questions and working out what effects your magic system
=== Interconnection ===
Another important point is to
=== Streamlining ===
Remember, however, not to streamline too far as that will make the single culture or character seem too packed and might decrease their plausibility.
== Sanderson's
'''Err on the side of AWESOME.'''
Brandon has, in his online lectures, described his ultimate rule as that of making magic "awesome" (in the colloquial sense), and further implied that said "awesomeness" takes precedence over exact obedience to the other three laws.{{wob ref|6227}} This rule is primarily to be understood in the sense of beginning with an interesting (i.e. "awesome") idea, and building the magic system or fantastical technology upon said idea from there, rather than to simply disregarding the previously mentioned laws - rather, those laws should bend to the "awesomeness" of the idea, and not take priority over it, thus keeping the idea behind the magic system "awesome".{{wob ref|7077}}
The naming of this law is a reference to Isaac Asimov's Zeroth Law of his Three Laws of Robotics.
== Notes ==
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